This post initiates what I hope will be a series of posts made in response to the question: â€œWhat can be done with dance?â€. The question is taken from the book, â€œHow to Do Things with Dance: Performing Change in Postwar Americaâ€ by Rebekah J Kowal. In the book Kowal suggests that the political potential of choreography to enact real societal change exists as much on the street as it does on the stage. I wonâ€™t go into too much detail about the book, as I will be posting an interview with Kowal shortly, but I would like to linger a little while on this question of doing. Following Kowalâ€™s lead I would like to consider the potential of dance as extending beyond the â€œpower of embodied actionâ€. Let us take for granted, just for now, Â this particular kind of power in bringing about experiential or social change in order to consider other aspects of dance. Like poetry, dance is a way of making graspable what might otherwise elude us. It is a way of capturing the wordless sensations that arise in the body at any given moment.

While I may be inclined, from time to time, to believe that what constitutes the world is nothing more than a series of words, names really, I am also quick to point to the pleasure of unknowable sensations or passions. This is what dance does. It gives us access and makes available that which we feel but do not know. Choreography, in this vein, is a way of working with newly acquired bodily knowledge. In this way, dance is perhaps more grounded than poetry, in that what is being expressed is rooted in the architecture of the body. This of course only leads us to more questions: What is the relationship between the architecture of the body and the space in which it moves? and in the context of my initial inquiry, how might dance help us re-imagine this relationship?

Very often, when speaking about performance, we speak of the space of the event. That rather fluid relationship between the invisible boundaries of the performance arena and the bodies that occupy it. This is the basis for many conversations concerning theater, dance, and other body-based performance practices. Conceptions of space, as they attempt to describe a kind of container, allow for the conceptualizing of bodily volumes. They allow us to speak of the mobility of bodies as it pertains to the environment in which they move. While there is certainly a value in thinking of the relationship between the body and space as one of volume to container, it is also problematic in that it most often privileges an unrealistic idealized body.

Space as it exists conceptually promotes an occupation of itself by a certain kind of body. A body that is best represented by the athletic body. While this may not be the image of interest for most performers the image of the idealized body has a particularly strong hold socially and is continually circulated through the design and conceptualization of space. Day to day routines are policed by the proportions of the spaces in which they take place. Door frames, floor tiles, counter tops, the boundaries of our movements are dictated by standardized measurements. Proportions that are more often than not disproportionate to the bodies that they contains. So internalized are these dimensions that they are manifested non-consciously in the very way that we imagine space around us. To overcome these biases and to allow for other or differently abled bodies is to reconceptualize the relationship of the body to space.

The dancing body is not immune to these prejudices but dance as a practice of acquiring new insight, new knowledge, allows us to use the body to think around our internalized prejudices. The dancing body, for example, does not occupy space so much as facilitates a collaboration between space and the body, it pushes itself against the space that envelops it and in turn that space pushes itself against the body. The body leans against the wall and the wall leans away. Weight is distributed, balanced and shared. The dance is made in collaboration with its environment. It is in this spirit of collaboration, that we begin to find the seedlings of a new way of identifying the performance space. With this dynamic relationship in mind the dancer imagines space as the limbs of another dancer, the back of a chair, the side of the body, an immobile leg, a sleeping hand. The imagination then elaborates and the process of choreography itself becomes about finding ways to express two sets of information, the choreographers and the dancers, and in so doing the hierarchy of values that determine the acceptability of bodies has begun to disintegrate in the wake of collaboration. We have used dance as a practice and a metaphor to circumvent internalized prejudices and to imagine new ways of being in space. I am reminded here of Cornel Westâ€™s description of Percy Shellyâ€™s poet.

â€œHe is talking about all human beings who decide to muster their imagination and empathy to conceive of a better world, given the social misery and suffering of this world.â€ Â